Robert Kipniss

Robert Kipniss
Large Trees at Dusk
1962
oil on canvas
Carnegie Museum of Art, Pittsburgh

Robert Kipniss
Night Reflections
1969
lithograph
Smithsonian American Art Museum, Washington DC

Robert Kipniss
Sheds and Fence
1969
lithograph
Smithsonian American Art Museum, Washington DC

Robert Kipniss
Self Portrait
1969
drypoint
National Portrait Gallery, Washington DC

Robert Kipniss
Backyard
1972
lithograph
Art Institute of Chicago

Robert Kipniss
Interior with Suspended Plants
1975
lithograph
Art Institute of Chicago

Robert Kipniss
Landscape with Curved Road
1978-79
oil on canvas
Milwaukee Art Museum

Robert Kipniss
Window with Large Tree
1993
mezzotint
Tacoma Art Museum, Washington State

Robert Kipniss
Clear Vase and Landscape
1995
mezzotint
Tacoma Art Museum, Washington State

Robert Kipniss
Evening with White Porch
1996
mezzotint
Smithsonian American Art Museum, Washington DC

Robert Kipniss
Appoggiatura
1999
mezzotint
Minneapolis Institute of Art

Robert Kipniss
Garden Shadows
2000
mezzotint
McNay Art Museum, San Antonio, Texas

Robert Kipniss
Without World
2000
mezzotint
Minneapolis Institute of Art

Robert Kipniss
Still LIfe with Dark Window
2001
mezzotint
Dallas Museum of Art

Robert Kipniss
Branches, Millerton
2003
mezzotint
Smithsonian American Art Museum, Washington DC

Robert Kipniss
The Balanced Rock
2004
mezzotint
Smithsonian American Art Museum, Washington DC

Robert Kipniss
Forest Murmurs II
2010
mezzotint
Dallas Museum of Art

Robert Kipniss
Hidden Trees
2018
mezzotint
Dallas Museum of Art

from Metamorphoses

In antient Times, as Story tells,
The Saints would often leave their Cells,
And strole about, but hide their Quality, 
To try good People's Hospitality.
    It happen'd on a Winter Night,
As Authors of the Legend write;
Two Brother Hermits, Saints by Trade,
Taking their Tour in Masquerade;
Disguis'd in tatter'd Habits, went
To a small Village down in Kent;
Where, in the Strolers Canting Strain,
They beg'd from Door to Door in vain;
Try'd ev'ry tone might Pity win,
But not a Soul would let them in.
    Our wand'ring Saints in woful State,
Treated at this ungodly Rate,
Having thro' all the Village pass'd,
To a small Cottage came at last;
Where dwelt a good old honest Yeoman,
Call'd, in the Neighbourhood, Philemon.
Who kindly did the Saints invite
In his Poor Hut to pass the Night;
And then the Hospitable Sire
Bid Goody Baucis mend the Fire;
While He from out of Chimney took
A Flitch of Bacon off the Hook;
And freely from the fattest Side
Cut out large Slices to be fry'd:
Then stept aside to fetch em Drink,
Fill'd a large Jug up to the Brink;
And saw it fairly twice go round;
Yet (what is wonderful) they found,
'Twas all replenished to the Top,
As if they ne'er had toucht a Drop.
The good old Couple was amaz'd,
And often on each other gaz'd;
For both were frighted to the Heart,
And just began to cry; – What ar't!
Then softly turn'd aside to view,
Whether the Lights were burning blue.
The gentle Pilgrims soon aware on't,
Told 'em their Calling, and their Errant:
Good Folks, you need not be afraid,
We are but Saints, the Hermits said;
No Hurt shall come to You or Yours;
But, for that Pack of churlish Boors,
Not fit to live on Christian Ground,
They and their Houses shall be drown'd:
Whilst you shall see your Cottage rise,
And grow a Church before your Eyes.

– Ovid (43 BC-AD 17), translated by Jonathan Swift (1709)

Barbara Bosworth

Barbara Bosworth
Swallows, Platte River, Nebraska
1991
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion Green Ash, Michigan
1992
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
Wynoochee Falls, Olympic National Forest, Washington
1993
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
Latourell Falls, Columbia River Gorge, Oregon
1993
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion Coast Redwood, California
1994
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion Valley Oak, California
1994
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion Blackjack Oak, Georgia
1999
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion Singleleaf Ash, Colorado
2001
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion American Elm, Kansas
(identified and registered in 1979 – subsequently destroyed by weather and vandals)
2001
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion Slippery Elm, Ohio
2002
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
National Champion Elliottia, Georgia
2002
gelatin silver print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
Indigo Bunting
2003
C-print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
Common Yellowthroat
2003
C-print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
Untitled
(series - Meadow, Carlisle, Massachusetts)
2003
C-print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
Untitled
(series - Meadow, Carlisle, Massachusetts)
2004
C-print
Smithsonian American Art Museum, Washington DC

Barbara Bosworth
Black-billed Cuckoo
2005
C-print
Smithsonian American Art Museum, Washington DC

from Remedia Amores

    Although thy heart with fire like Ætna flame,

Let not thy mistresse once perceive the same:

Smother thy passions, and let not thy face

Tell thy mindes secrets, while she is in place:

Thy heart being stormy, let thy face be cleere,

Nor let loves fire by smoake of sighs appeare.

Dissemble long, till thy dissembling breed

Such use, as thou art out of love indeed.

    Who loves must lovers company refuse,

For love is as infectious as newes.

By looking on sore eyes, we sore eyes get,

And fire doth alwaies on the next house set.

Did not infection to next neighbours flie,

Diseases would with their first owners die.

    A wound new heal'd will soone break out againe,

Therefore from seeing of thy love refraine:

Nor will this serve, but thou must shun her kin,

And even the house which she abideth in.

Let not her Nurse or Chamber-maide once move thee

Though they protest, how much their Mistresse loves thee,

Nor into any question of her breake,

Nor of her talke (though thou against her speake).

He that sayes oft that he is not in love

By repetition doth himselfe disprove. 

– Ovid (43 BC-AD 17), translated by Sir Thomas Overbury (before 1613)

Catherine Opie

Catherine Opie
Self Portrait
1970
inkjet print
Carnegie Museum of Art, Pittsburgh

Catherine Opie
Justin Bond
1993
C-print
NSU Art Museum, Fort Lauderdale, Florida

Catherine Opie
Frankie
1994
C-print
Los Angeles County Museum of Art

Catherine Opie
Flipper, Tanya, Chloe & Harriet, San Francisco, California
1995
C-print
Whitney Museum of American Art, New York

Catherine Opie
Untitled
1997
inkjet print
Art Institute of Chicago

Catherine Opie
Melissa & Lake, Durham, North Carolina
1998
C-print
Guggenheim Museum, New York

Catherine Opie
Untitled
(Surfers Series)
2002-2003
C-print
Buffalo AKG Art Museum, New York

Catherine Opie
Self Portrait Nursing
2004
C-print
Guggenheim Museum, New York

Catherine Opie
Saint Gilles du Gard
2007
three C-prints
Carnegie Museum of Art, Pittsburgh

Catherine Opie
Untitled #6
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #26
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #27
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #31
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #32
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Diana Nyad
2010
inkjet print
National Portrait Gallery, Washington DC

Catherine Opie
Elizabeth
2013
inkjet print
Institute of Contemporary Art, Boston

from Ode 29, Book 3, paraphrased in Pindarique Verse

 

Descended of an ancient Line,

    That long the Tuscan Scepter swayed,

Make haste to meet the generous wine,

    Whose piercing is for thee delayed:

The rosie wreath is ready made;

    And artful hands prepare

The fragrant Syrian oyl, that shall perfume thy hair. 

When the Wine sparkles from afar,

    And the well-natured Friend cries, come away;

Make haste, and leave thy business and thy care,

    No mortal int'rest can be worth thy stay.

Leave for a while thy costly Country Seat;

    And, to be great indeed, forget

The nauseous pleasures of the Great:

    Make haste and come:

Come and forsake thy cloying store;

    Thy Turret that surveys, from High,

The Smoke, and wealth, and noise of Rome;

    And all the busie pageantry

That wise men scorn, and fools adore:

Come, give thy Soul a loose, and taste the pleasures of the poor.

– Horace (65-8 BC), translated by John Dryden (1685)